Completing an engraving started in 2009

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single colour engraving (from resingrave block)
image size: 4.5 x 6 cm (1 5/8 x 2 3/8 in)

 I was recently organizing some of my artist materials to a more centralized storage system and happened upon a small sized block of resingrave (synthetic coating that is fused in a thin layer to a mdf substrate that makes it type set height). On the surface of the block was a sketch I had made of a sparrow balanced on top of several wildflower branch heads. The block itself measures 4.5 x 6 cm.

At the time I had only progressed to the rough sketch and decided this might be too small for an image to continue. But as fate would have it other things soon took priority and the block was set aside and then put into storage. Last week I was going to begin another new work but when I discovered the block I decided to focus instead on it. I had since that time acquired a good full spectrum combo lamp-5X magnification swing arm unit that allows me to work on blocks that would become small detail engravings.

In the above photo the sketch was traced over using a waterproof fine liner marker. The top area surrounding the bird (sparrow) has been cut away using several engraving blades.

The block is set on a leather sand bag while engraving which allows me to turn both it and block and raises it to a good visible working height under my magnification lamp.. 

block with background cleared
and the early stages of adding details 

print from the open edition with addition
of wash & pigment using a small paint brush

I will print this as an open edition. Some of these will also find a little colour added to them

Engraving from end-grain maple block

 

Coastline- Lake Superior
wood engraving/hand-coloured
open editon (varied)
2023

Recently a fellow printmaker (master engraver) who is a good friend I have known for at least 25 yrs sent me with a couple of pieces of end-grain wood he wasn't planning on using. To date I had only engraved into Resingrave (a synthetic hard polymer) and old hard dark brown linoleum. 

I had been wanting to try end-grain but encountered difficulty in sourcing it here in Canada. I was forced to put that earlier idea into the "do that later" mental files. 

My printmaking friend had seen some recent small lino and resingrave work I showed him via email and he decided to help me obtain some traditional end-grain hardwood that he has used throughout his career as wood engraver, artist/illustrator and run a small gallery to showcase his work in his residence. In addition to the section of maple I was also sent an equal size piece of rare old boxwood. 

I had the wood pieces cut to specific smaller size blocks by a local cabinet maker who had the recommended vertical bandsaw to cut with the grain (which is vertical orientation for the almost 3/4" thick blocks. The maple block I was sent is around 1/2" in height.

I was fortunate to have a small tabletop Blick etching press that allows enough clearance between the press bed and bottom of the top roller set at it's max height to accommodate paper and a smooth piece of hard paperboard. 

I chose a landscape to sketch from a photo I had taken a couple of years back taken during a trip east to visit family. This is typical cambrian shield rocky outcrop that borders the north shore of Lake Superior on the Canadian side of the border, One will often find low bush blueberry shrubs, harebell flowers growing out of cracks in the rock. The rock also has a lot of lichens spreading across the ancient granite face. It is one of my favourite things about living here in the region where I do.

Below are a few photos that illustrate the creation of the print. They show a bit of the progression from after I had carved the block surface and through to the final colour version on paper. The first photo is my working set up and I place most of the tools nearby as well as the leather sandbag to help me keep the block stable while it is engraved. I also use a crocker sharpener system with light mineral oil and an arkansas oil stone to keep the tool tips nice and sharp. I will give a particular tool I plan to use a quick pass back and forth across the oil stone and it makes cutting into the wood surface less difficult to cut.

For the hand-colour element again I introduced watercolour with small fine tip watercolour brushes.